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Based on the work done by mathematical genius Alan Turing (Benedict Cumberbach)and his team’s efforts during World War II to crack the German Enigma code; this is a window into Turing’s world, his struggles as a closet homosexual, and the people who supported him as he created the world’s first supercomputer.
Directed by Morten Tyldum this biopic powerhouse demands attention from the viewer and serves as a solid stage for Cumberbach to once again display his talents as one of the strongest up and coming actors in cinema today. Work from Kiera Knightly, Matthew Goode, and Allen Leech as supporting characters is also notable and the overall screenplay, which albeit at times is too convenient and artistically embellished, serves as a fascinating historical lesson that might otherwise go unnoticed. Oddly enough, it’s only in the last few moments the film squarely addresses homosexuality in England in the 1940’s through epilogue before the credits roll, strange. Still, not to be missed, The Imitation Game is rated PG-13.

Following a bitter divorce and relocation to San Francisco, Margaret (Amy Adams) finds herself in need of employment to support her daughter. A talented painter, Margaret would quickly find work painting children’s furniature and selling her own art on the weekends at a local artist’s market. At the market she would eventually meet Walter Keane (Christoph Waltz), a charismatic and dashing man who appeared to have the world on a string. In haste the two would marry and attempt to make a living with their art. But, as time would tell, Walter was a brand of evil that Margaret had little defense against. Finding her inner strength and following her artistic muse would be the only thing that could save her, but would she find both before it was too late?
Marking a return to a more terrestrial style of film, Director Tim Burton has created an interesting piece. Interesting in that the overall story, while a fascinating biography, is told in a rather straightforward manner and comes across rather bland and void of the Burton magic audiences have come to expect. The work done by Adams is certainly notable but the direction and lunacy of Waltz’s character is hard to digest. If anything the film does manage to peak a curiosity in Margaret’s work, old and new, but doesn’t do much for cinema. Big Eyes is rated PG-13.

Based on the true events of surrounding the mid 80’s Olympics, two champion wrestlers Mark and Dave Schultz (Channing Tatum and Mark Ruffalo) and multimillionaire sponsor and “coach” John E. du Pont (Steve Carell) would make history. But just how exactly would their mark be made, and, with what consequences? As it’s been said, money is root of all evil. First and foremost, it’s imperative to know this is NOT a funny film, in fact, despite the comedic talents of the ensemble, Director Bennett Miller has instead created one of the darkest and haunting films for 2014. Thoroughly exploring the warped mind of an overprivileged, and entitled man-child seeking his mother’s approval Carell’s transformation is truly something disturbing, giving cause for the hairs on the back of your neck to stand up and recoil in repulse. Meanwhile, the work by Tatum and Ruffalo does not go unnoticed, thoughtful and scarred, the dynamic between the two feels explosive and rich with undercurrent. Looking for that slow burn dramatic powerhouse, look no further, you’ve found it! Foxcatcher is rated R.